Constructed in the early 1st century CE and buried under the ash of the eruption of Mount Vesuvius in 79 CE, which consequently preserved it. The Suburban Baths were part of the later wave of architectural and infrastructural developments in ancient Pompeii. Unlike the older baths situated within the city walls, these were designed with greater attention to luxury and landscape, offering panoramic views of the port and sea. They reflect not only the technological advancement of Roman bath construction but also the evolving social behaviors linked with bathing culture in early Imperial Rome.

Their peripheral location and explicit erotic artwork also suggest a degree of social separation from the more conservative urban core. The Suburban Baths were publicly owned, as were also the Stabian, Forum, and Central baths in the city. Although publicly owned, given the schema of decorative programs the baths seem to have been reserved for a private clientele unlike the other public baths.

circa 80 BCE

Pre-Roman Period
There is no direct archaeological evidence indicating the presence of a formal bath structure at the site before Roman colonization (circa 80 BCE). However, the vicinity likely served as a coastal transit and activity zone associated with the earlier Oscan and Samnite phases of Pompeii's development.

Early Roman Period
During this period (circa 80 BCE – 27 BCE), following the establishment of Pompeii as a Roman colony in the 1st century BCE, public bathing culture became increasingly institutionalized. The Forum Baths and Stabian Baths were initiated or renovated during this phase. While the Suburban Baths did not yet exist, this period laid the infrastructural and cultural groundwork for their eventual construction.

Augustan and Julio-Claudian Period
The Suburban Baths were most likely constructed during this phase (circa 27 BCE – 54 CE), perhaps around the reign of Tiberius or early Claudius, when urban expansion and architectural innovation were encouraged across Roman municipalities. The architectural and decorative features strongly reflect early Imperial styles, particularly in their single-axis layout and decorative richness. Since the Suburban baths were constructed much later than the other baths, they were built outside the city walls near the Porta Marina, one of the city gates. By this time, land was more easily available outside the city as the walls had lost their defensive role after the town became a Roman colony. Around the same time (circa 30-20 BCE) baths were connected to the Aqua Augusta aqueduct and benefitted from the increased supply of running water.

Flavian Period
After the earthquake of 62 CE the bathhouse seems to have been extensively renovated, when a heated swimming pool (piscina calida), was added to the north of the complex. Though the baths were already in operation, continued enhancements likely occurred during the early Flavian reign (circa 69 CE – 79 CE). Decorative programs may have been added or refurbished, including the erotic frescoes that have made the baths particularly famous. The natatio and nymphaeum features also likely date to this later stage. The eruption of Vesuvius in 79 CE abruptly ended further development.

circa 80 BCE

The Suburban Baths were constructed as a two-storey edifice that uniquely combined bathing functions with leisure and residential or commercial space. The upper floor, accessible via an internal staircase or directly from Via Marina, consisted of three separate suites, possibly rented out for private lodging or social services. Large glass windows on this floor offered expansive views of the Bay of Naples, setting this bathhouse apart from more enclosed city bath structures. Some scholars posit that this upper area may have been used for prostitution, a hypothesis based on proximity to the erotic imagery found within the complex.

The baths exhibit key characteristics of first-century CE "single-axis row" bath architecture. This design facilitates a linear bathing progression from cooler to warmer spaces: starting with the apodyterium (dressing room), followed by the frigidarium (cold room), tepidarium (warm room), laconicum (dry sweating room), and culminating in the caldarium (hot room). These rooms are aligned to optimize both function and solar gain, especially through southwest-facing windows that maximized natural light and warmth.

An outdoor natatio (swimming pool) with a decorative fountain was added after the initial construction. The addition of the natatio introduced a separate sequence of rooms, including a nymphaeum with a water cascade, offering bathers an alternate route that bypassed the tepidarium-caldarium axis. This kind of dual-circuit bathing layout was rare in Pompeii, further underscoring the uniqueness of the Suburban Baths.

Entry to the baths was through a long corridor leading to the apodyterium, which may have served both genders, a matter of scholarly debate. The presence of only one dressing room has led to various theories, including mixed-gender usage, male-only access, or time-based segregation, wherein men and women used the facilities at different times.

The caldarium featured a piscina calida (hot-water pool) heated via an innovative system involving a domed metal element known as a samovar. This apparatus was embedded into the pool floor directly above the furnace, enabling highly efficient water heating. Latrines were available near the bathing rooms and could accommodate six to eight users, indicating considerations for communal use.

circa 80 BCE

The Suburban Baths are renowned for their explicit erotic frescoes, particularly those located within the apodyterium. These images depict a range of sexual acts in vibrant polychrome, with a notable emphasis on variation and spectacle. The function of this artwork remains contested among scholars. Some suggest it served as a form of menu or advertising for sexual services potentially offered on the premises; others see it as humorous or symbolic art meant to establish a relaxed or titillating environment for bathers.

Beyond erotic scenes, the baths also featured more conventional Roman decorative elements, including marine motifs, mythological figures, and intricate geometric patterns rendered in both fresco and mosaic. These artistic programs contribute to our understanding of the aesthetics of Roman leisure and the cultural permeability between public hygiene and private indulgence.